FULL OF HELL ‘Garden of Burning Apparitions’ Decibel Exclusive Color (Limited to 250) Pre-Order Available!

An unshakable pillar of the underground extreme music scene, Full of Hell have cultivated a reputation worthy of such a name over the past decade. A frequent occupant of Decibel’s Top 40 Albums of the Year feature and collaborators with such varied acts as Merzbow, the Body, Nails, Code Orange and many more, this quartet synthesizes a wide breadth of influences into a identity all their own: fast, frenetic, horrifying, cathartic and, above all, extreme.

Two years after the release of their last album, Full of Hell have returned with the latest entry to their celebrated catalog, Garden of Burning Apparitions. Expanding upon their already massive repertoire of sound, this latest LP sees the band’s amalgamation of grind, death metal, harsh noise and hardcore co-mingle with elements of noise rock and industrial that allows them to remain as fresh as they are suffocating. It is therefore with great pride that Decibel announces pre-orders are now open for our very own exclusive color variant of what will surely be one of 2021’s most talked-about records.

This special Decibel edition comes on Gold Translucent vinyl housed inside a single sleeve with insert (pictured), and is strictly limited to only 250 copies worldwide. This edition will go quickly and once we’ve burned through these LPs, they will be gone for good. Don’t ghost this offer, pre-order right now!

NOTE: This is a pre-order item that is due to be released on or around October 1, 2021. All items ordered together will be charged at the time of the order and will ship together when everything is in stock. Please place multiple orders if you wish to have items shipped as they arrive. All details, including release date, are subject to change.

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Decibel Magazine Metal & Beer Fest: Los Angeles 2021 Announced, Full Lineup Revealed

Sample bitters and then some until your tap stops! Because Decibel Magazine Metal & Beer Fest: Los Angeles will return to downtown L.A. on Friday and Saturday, December 10-11, 2021. That’s right, Decibel—North America’s only monthly metal magazine—will bring the loudest, heaviest, most extreme craft beer festival to the Belasco in Los Angeles, CA.

Metallic hardcore legends Converge will celebrate the 20th anniversary of their landmark album Jane Doe with an exclusive west coast full performance of the record on Friday night, while fellow New England juggernauts Cave In will close out the festivities on Saturday evening with the first-ever performance of their classic debut Until Your Heart Stops in its entirety.

If that wasn’t enough, recently reunited metallic hardcore gods Deadguy will bring their Fixation on a Coworker lineup to perform their first California show ever. Phoenix thrash rulers Sacred Reich will return to L.A., death metal kings Hate Eternal will play their first CA show in six years, grindcore godfathers Repulsion will bring blasts from the past, Creepsylvania cannibals Ghoul will serve their splatterthrash, while revered thrash punk crew Early Graves will perform their final show ever.

The already stacked bill, presented by Century Media Records, will be rounded out by traditional metal-inspired trio Night Demon, epic doom battalion Crypt Sermon (performing their first-ever CA show), Bay area death dealers Ripped to Shreds, power grind-crushers ACxDC, Sin City bruisers Spirit World and L.A. heavy metal torchbearers Saber.

Not to be outdone by the bands, the country’s most metal breweries will converge in a maelstrom of malt madness! Presenting Brewery Adroit Theory (VA) will join Featured Breweries Wake (IL) and Widowmaker (MA) to lead a murderers’ row of brewtality including Burial (NC), Soundgrowler (IL), Three Weavers (CA) and Mikkeller (CA)—with several more to be announced soon—all assembling for an unforgettable weekend of suds and thuds.

Tickets are on sale on Friday, August 6 at 10am PT. And this year we’re excited to offer three different ticket options.

Just Metal Ticket

Admittance to the day’s event, but as the name suggests, you just get the see the show—no beer samples (You can still buy your beers a la carte if you’re 21+).

Metal & Beer Ticket (21+)

Admittance to the day’s event plus unlimited* sampling from our diverse lineup of national breweries presented by Adroit Theory Brewing Company. Metal & Beer Ticket holders will also have access to special pours and tapping events inside of the 1926 Ballroom. Commemorative Decibel Magazine Metal & Beer Fest LA sampling cups provided. Limited to 350 tickets per day*Please note: In extreme cases, certain high-ABV pours will be ticketed, with attendees receiving a limited # of tickets available to redeem for each offering. Drink responsibly! 

Metal & Beer VIP Sampling Experience + Early Entry (21+)

Package includes all of the sampling perks of the Metal & Beer ticket plus:

  • 2-Hour Early Entry VIP Sampling Experience in the 1926 Ballroom Presented By Adroit Theory Brewing Company.
  • Access To Rare + Exclusive Pours, Special Band-Collaboration Brews + Limited Edition Merchandise For Each Day.
  • Exclusive dBMBF: LA Merch Bundle*, Crowd-Free Merch Shopping + Complimentary Merchandise Coat Check.
  • Early Entry Doors For Show + Wristband Access To Special VIP Mezzanine Viewing Area!

*Merch Bundles:

Weekend Pass VIP Merch Bundle (Limited to 150)

  • Limited-Edition Holofoil Show Print (Signed + Numbered) + Tube
  • Premium Oversized Decibel x Pull The Plug Patches Woven Patch
  • Official dBMBF: LA Branded 22-Ounce Stein + Commemorative Pint Glass
  • Official dBMBF: LA Festival T-shirt + Exclusive “Death to False Beer Fests” T-shirt
  • Decibel Magazine Tote bag to store it all

Single-Day VIP Merch Bundle (Limited to 200)

  • Signed and Numbered Show Print + Tube
  • Embroidered Decibel x Pull The Plug Patches Festival Patch
  • Official dBMBF: LA Branded Commemorative Pint Glass
  • Official dBMBF: LA Festival T-shirt
  • Decibel Magazine Tote bag to store it all

Hails and ales to our partners!
Century Media
Adroit Theory
Relapse Records
Prosthetic Records
Metal Blade Records
Wake Brewing
Widowmaker Brewing Co.
Kings Road Merch
Gimme Metal
Pull the Plug Patches
Indie Merch Store
Dark Descent Records

All Decibel Magazine Metal & Beer Fest: Los Angeles ticket options are on sale on Friday, August 6 at 10am PT.

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Video Premiere: Phantom Fire – ‘Feed on Fire’

Norwegian duo Phantom Fire are drunk on whiskey and high on black magick. Coming in hot following their debut demo this spring, Phantom Fire—featuring members of Gaahls Wyrd and Kraków—quickly cranked out debut full-length The Bust of Beelzebub, a full-tilt journey through the darker side of heavy metal. It’s on display in the new video for “Feed on Fire,” the second single from The Bust of Beelzebub.

From the rip, there’s a clear sense of fun underneath the evil; there’s plenty of time allotted to drinking Jack Daniels, riding motorcyles and snorting lines in between sweaty live footage and burning inverted crosses. The video reeks of pure rock ‘n’ roll sleaze, the kind of thing that could fuel a new Satanic Panic.

“Feed on Fire,” like most of The Bust of Beelzebub, is a marriage of black, speed and heavy metal but Phantom Fire work in unexpected influence. At the end of the song, the music crumbles into blown-out noise and unsettling psychedelic guitar. The last 25 seconds of the song feel like the abrupt end to a bad trip and then it’s over.

Watch the video for “Feed on Fire” below. The Bust of Beelzebub is out on October 22 via Edged Circle.

Photo: Jannicke Oyre

The post Video Premiere: Phantom Fire – ‘Feed on Fire’ appeared first on Decibel Magazine.


Undeath To Release New Song, “Diemented Dissection,” via the Decibel Flexi Series

New York new jacks Undeath have been on a bloody rampage as of late, ripping and tearing their way up the ranks of the death metal underground. Their Prosthetic Records debut, Lesions of a Different Kind, is a gore-obsessed mission statement that certainly turned heads and broke necks, and in turn a follow-up is recorded and lurking beneath the surface, waiting to be unleashed sometime significantly after they hit the road with the Black Dahlia Murder in September. Until then, the Decibel Flexi Series is proud to welcome an exclusively exclusive track to its long-running curated series. Entitled “Diemented Dissection,” this slice of new music certainly backs up their promise provided in Decibel’s July issue that their new work showcases, “better riffs, better arrangements, better lyrics about fucking dying.”

Looking to get your grubby mitts on this vital slab of wax? As always, the only way to guarantee your copy is to sign up for a deluxe Decibel subscription by Monday, August 2 at noon ET. (Un)death is eternal, but this offer sure as hell isn’t.

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Ripped to Shreds Premiere New Song, “燒冥紙 (Sacrificial Fire),” Via the Decibel Flexi Series

In just three years since debuting with 埋葬, Andrew Lee’s death metal battalion Ripped to Shreds has landed on Decibel‘s Top 40 Albums of 2020 with last year’s 亂 (Luan), nabbed a spot on this year’s Metal Massacre XV compilation (curated by our own editor in chief) and now crashes the Decibel Flexi Series!

Tiled “燒冥紙 (Sacrificial Fire),” this exclusive new track showcases the now signature brutal-yet-melodic take on the old school style from this upstart international death metal machine.

“Consider our track as hell money burnt in braziers,” Lee tells Decibel, “an offering to those who have passed in these recent difficult years…”

You can jam our 129th entry in the series below and then head off to the dB store where we have an extremely limited amount of the issues containing the Ripped to Shreds flexi available. Cheers to everyone who has supported the Decibel Flexi Series over these past 10 years and here’s to decades more floppy radness!

The post Ripped to Shreds Premiere New Song, “燒冥紙 (Sacrificial Fire),” Via the Decibel Flexi Series appeared first on Decibel Magazine.


Low Fidelity: Vintage Vinyl and The Precarious State of the Indie Record Store

Last month the news spread that Vintage Vinyl, the Fords, NJ bastion of independent music, was closing after four decades in the business. It wasn’t because of the effects of the pandemic but rather a shift in the priorities of the store’s ownership—a small consolation in a story that otherwise would have read like a broken toilet that people kept shitting in. For thousands of people growing up in New Jersey and the surrounding area—that’s not an exaggeration—Vintage Vinyl was that one shining beacon we had in a sea of corporate record store chains in the years before one-click online ordering. My friends and I would pile into one of our cars every few weeks to take the two-hour drive to Vintage, not only for the cool shit they brought in, but also for the experience of the store itself. The CDs, the vinyl, books, assorted other random stuff lke the small stage for in-store performances, artist signings, etc. For a lot of people, this was their hub of culture. I haven’t lived in New Jersey for years, but the news still made me sad that I couldn’t visit this institution one more time before the vultures pecked it clean. And it also made me think about independent record stores and the record—mostly vinyl—industry as a whole.

I haven’t worked inside a record store in years since I was unceremoniously told to get the fuck out of one before the cops were called, but I have kept up with a lot of people who own such stores and I still do my best to patronize as many of them as possible. Whenever I travel for work, one of the first things I do is research local record stores, even in the most unlikely of places. Having some time away from being behind the counter has given me perspective on more than just the sheer volume of horseshit that comes out of customers mouths, or the mouth-eaten copies of Rumours they lugged in because some asshole on a Pawn Stars said albums were worth a mint. It’s given me time to reflect on how difficult some of the decisions the shop owners must make simply to keep afloat.

As a much younger man with disposable income, I loved scouring Vintage’s used bin and just blind buying weird metal and punk records because they looked cool, with the hopes that the art was an adequate reflection of the music within. It was a gamble, and I took home some fucking duds over the years, but when you hit gold, it really stuck with you. This was kind of a symbiotic relationship because you got the thrill of seeing if your aesthetics yielded a reward and the stores could turn over stock. This whole dance is a thing of the past now that people can just pull out their phones and check on the spot—and that’s only a viable scenario if that hypothetical person even buys physical music anymore. And while you can take out a large population of musical Russian roulette seekers, that’s not slowing the amount of absolute bullshit people are bringing in to sell to these places—especially after two years of a poor economy. I can imagine just the daily stress of dealing with these human nightmares desperate to strike gold with moldy attic “treasures” and thrift store finds has now grown, especially with fewer new faces coming in with summer job money and a hunger in their ears. One of these spectres once asked me if I ever saw the Doors with Jim Morrison. Morrison died six years before I was born. I did not buy their records.

The man who owned the stores I worked at 10 years ago was ahead of the curve in many ways. He began to see his stores not as Ye Olde Record Shoppe but as open air warehouses, a processing center you could browse as we frantically listed everything on Amazon (before Bezos made changes so that third-party selling on Amazon became nearly impossible—also before he put on that stupid fucking hat and rode a large metal dick a bit higher than normal places). It was a hybrid model that a lot of record stores have had to adapt to survive. Services like Amazon, eBay and later Discogs all became tools to enable this existence, but unfortunately these services know they’re vital and raise their seller fees constantly. Coupled with policies that always are in favor of the buyer—even if the buyer manages to rip off the seller—plus the escalation of shipping costs, operating costs and just general hassle tend to add up. You saw a lot of older store owners resist using the internet as a gateway to new customers because they thought it was a fad, like the fucking Charleston. I say “saw” because a good portion of these stores disappeared. And then you have Record Store Day.

Record Store Day—if you’re still somehow unaware—is a (now) twice yearly “holiday” whose initial intention was to invite indie labels to do special releases that would only be available in indie stores to help drive people into brick and mortars and prop up the whole scene. And for a bit this worked. But like all things with good intentions, the big corporations saw earnings potential and jammed their knobby dicks right into it. The vast majority of titles released on RSD is bullshit like remastered 180-gram Jim Croce LPs for $34.99 when you can buy fucking 15 copies of the original for that price and still get change back, While this may be considered a matter of “taste” it also created a deeper, longer lasting problem: The glut of corporate money causing major backlogs at vinyl plants and higher costs for smaller labels, which all gets passed down to you. Who said trickle-down economics doesn’t work?

These delays are choking indie labels who cannot afford to put up $10,000 to release a record only to wait nine months because there needs to be another pressing of some Springsteen record with already 40 million copies in print. For a little while, this resulted in rise of cassette labels and the inevitable Cassette Store Day that never seemed to catch on, but now those plants are also stretched with delays. You know what this means? Yep, CDs. CDs are quicker and cheaper for labels to print up, giving it an almost unnatural second renaissance. You might not see much of it now, but trust me, you will.

While writing that last paragraph I googled “Record Store Day Reissues” and the search results weren’t so indie. I didn’t graduate college, but I don’t think fucking Kohl’s is an independent record store. Or Target. Or Walmart. How is this benefitting indie stores again? Outside of stores like my previous place of employment that would spend the few days surrounding RSD flipping this shit to people who didn’t want to wake up early and actually go to a fucking store for five times the price. Plus, most of the people who buy this bullshit are only looking for conversation pieces and would never step into a record store the other 363 days of the year unless they walked by the vinyl display at Urban Outfitters—another fine record store.

There are arguments for and against Discogs as a survival tool for stores and if I take a second to stop being the old man yelling at clouds meme, I’ll admit that Discogs and other services like Big Cartel and even Bandcamp are the future of physical distribution and collecting. Record stores now use Discogs as one of their primary income streams to hold back the tide that all brick-and-mortar specialty retail will eventually get swept away in, as we move entirely into a digital economy. So, in that sense, Discogs is a way to support the stores you love if you’re no longer local, and was a great source of financial stress relief for some stores during the lockdowns of the last 18 months.

There is the flip side to the story—that of the collector. It offers you information on practically every recording ever released, no matter how obscure and ways to create want lists to further curate your collection. But, for me, there’s something missing in the experience. Sure, the end result is the same (exchange currency for the record you wanted) but you miss going into a poorly lit store that’s covered floor to ceiling in stickers and posters that’s playing some weird shit you’ve never heard but might be into. You can’t dig into their crates to try to find that one holy grail on your list—to physically lift it off the shelf and see if before you buy it. You’re missing the satisfaction that comes after hunting for something and finally tracking it down. It becomes easy and it becomes cheap, and too many of our experiences these days encapsulate those two things. Is my reticence to this just a symptom of my age as well as my experiences in record stores? Probably, but I’m sure there’s a few valid points floating in the bowl.

I wish I could visit Vintage Vinyl one more time. Or Noise Pollution. Or Rock N Roll Plus. Or the dozens of other stores that have helped shape my tastes and experiences as a human being that are now either vacant or have a Dollar Store where music was once sold. Fortunately, there’s still plenty of great indie stores out there, but they’re on shaky ground and even the titans have to eventually adapt or die. Take my advice and do your best to patronize your favorite one, let them know that their existence is meaningful in your life and just soak in the experience of being in them. Because you don’t know when you’re going to wake up to the news they’re gone forever.

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Gus Rios (Gruesome, Union Black) On His Brush With Suicide and Fighting Depression

Gus Rios is the drummer of Gruesome, the guitarist of Kill Division and the guitarist/vocalist of Union Black. He has written the following editorial on his brush with suicide.

July 29, 2019 was the day that I decided that I was going to die. I was on tour with Gruesome and we were in Brighton, England on a day off with only four shows to go. We had been out on the road for just over three weeks, and by that point I had been steadily declining and isolating from the rest of the band. I remember the moment: We had gone to the pier, and I was looking out at the ocean feeling utterly empty and wanting to just go. I knew right then and there that I was going to kill myself once I got home. I instantly felt more at ease and better able to handle the last few days of tour. The day we were leaving, bassist Robin Mazen was talking about our next tour in March 2020 at the airport. I told her not to buy plane tickets just yet—I said I needed to find a solid sub for gigs at home. I didn’t plan on being there. Two days after arriving home, I had a gun to my head.

When I made the decision to commit suicide while on that pier in Brighton, I took a selfie. Not exactly sure why, to be honest, but I did. I have since deleted it, but that image will forever be burned into my memory. I came home on a Sunday, and Tuesday morning I decided that I had had enough suffering. I can remember my thoughts: my mother, brother, sister, family, girlfriend, bandmates, the fact that I would become just another statistic, my belongings—who I would leave them to?—my cat, Star Wars Episode 9 wasn’t out ’til December, and yet I had convinced myself that this was my best option.

Depression is the great deceiver. I repeat: DEPRESSION IS THE GREAT DECEIVER! I was never going to be normal. I was damaged goods beyond repair. My father had killed me years ago, I thought. I walked into my room, pulled out that salvation and stared into a mirror. It was that same look from the Brighton selfie: empty, hollow, desperate, like a wounded animal that knows it’s going to die. The tears and snot were so thick that I could hardly even see. I started to scream, Fuck you! Fuck you! over and over as I put my finger on the trigger. I fucking hate you! Do it, pussy! ¿los hombres no lloran? Then I got quiet, collected myself. I was going to go out with some dignity. I walked into the bathroom to clean myself up, and then my cat meowed, looking for water from the faucet.

I’m still not really sure why something so innocuous would have given me pause to recoil. This cat isn’t particularly friendly, but she is the sweetest and most innocent creature I have probably ever known. How the hell was I going to do this in front of her? The volume of the bang would’ve hurt her little ears. I may have fallen on her and hurt her. All of these ridiculous thoughts flooded my brain at the right time. I looked into the mirror and felt like I was looking at a murderer who had broken into my home and was trying to kill me. Then it was me saying fuck you to him!

That moment, I decided to fight with all that I had. With help from my girlfriend, I started therapy again. I didn’t even have the courage to call and ask for help, so she made the call for me. I started seeing a therapist twice a week and began the difficult process of dealing with deep childhood scars. I learned a lot about psychology, and my inquisitive nature helped me stay in it and remain attentive. I found it all so fascinating—the brain’s abilities to shield us from trauma, but also its limitations when the demons break out.

I started writing this in January of 2020. I didn’t come back to it until May 18, 2021. This is a very truncated version. I initially spent six straight hours just pouring out thoughts, and while I wasn’t super aware of it, I was also healing in the process. Then my best friend of 26 years—my mentor/hero—passed away, a global pandemic hit, live music stopped, millions of people died, and I was nearly one of them thanks to a COVID infection that left me hospitalized for a week.

It feels like I am finally beginning to close this chapter of my life. I am full-on chasing dreams again, fantasizing about the future and experiencing this strange phenomenon called “optimism.” It was far from easy, and I could not have done it without years of professional help, but I am living proof that there can be light at the end of the tunnel. Even now, as many of us are emerging from a global nightmare—and many have surely experienced something similar—hopefully those people are also beginning to experience this crazy thing called hope. I will never be able to erase my past and the things that happened to me, but I can certainly understand them, and at some point maybe even embrace them. Somewhere in me is the notion that, while I was forged in fire, it also made me who I am today. And I am, for the first time, becoming okay with that dude.

If you or someone you know is having suicidal thoughts, please contact the National Suicide Prevention Lifeline. Help is available 24 hours a day in English or Spanish.


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Lingua Ignota Dominates the Cover of Decibel’s September Issue

Kristin Hayter’s Lingua Ignota broke through the underground two years ago with Caligula, a deeply innovative record combining elements of both classical and extreme music, which rightfully ranked as the album-of-the-year runner-up on Decibel’s Top 40 Albums of 2019 list. The vocalist and multi-instrumentalist’s new album, Sinner Get Ready, might sound more traditional at first, but a deeper inspection — one provided by Justin M. Norton in this month’s Decibel cover story — reveals a painfully raw portrait of suffering that’s approximately a billion times heavier than some dude brandishing a sword in the woods.

A long overdue Hall of Fame induction for NYC trailblazers Candiria, via their now 20-year-old 300 Percent Density game-changer, and brand new death metal crusher from west coast Ripped to Shreds, “燒冥紙 (Sacrificial Fire)” which, of course, is exclusive to the Decibel Flexi Series, anchor one of the most eclectic issues of Decibel in some time. Grab a copy of the September 2021 issue now and feed your pretty little head.

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Decibel Exclusive Color OBSCURA Double LP ‘A Valediction’ Available For Pre-Order! Hear New Song “Solaris”!

In 2018, German tech death institution Obscura saw the close of a four-album concept series that took nearly a decade to complete. In 2021, the band is ready to start a new chapter in their prolific career accompanied by their new label, Nuclear Blast Records. A Valediction, their sixth full-length record, explores the concept of final farewells while ushering in a fresh start for the lightning fast quartet. Decibel is here to welcome this record into the world and we are proud to announce that pre-orders are now available for our very own exclusive color variant!

This beautiful double LP sees a vibrant red with smoke swirl colored vinyl on standard weight vinyl housed inside of a gatefold jacket. As the smallest run available in North America, only 200 of this color will ever be pressed. Be sure to pick up your copy now before you’re forced to say goodbye to this offer forever!

NOTE: This is a pre-order that is due to be released November 19, 2021. All details, including release date, are subject to change.

The post Decibel Exclusive Color OBSCURA Double LP ‘A Valediction’ Available For Pre-Order! Hear New Song “Solaris”! appeared first on Decibel Magazine.


Ripped to Shreds Slays Their Way Onto the Decibel Flexi Series

Andrew Lee has been quickly making a name for himself in the death metal scene with such gore obsessed bands as Skullmasher and Houkago Grind Time putting out consistently crushing records since 2018. His main project, Ripped to Shreds, has landed his unique brand of chainsaw death metal firmly on our radar with the release of last year’s 亂 (Luan). It is therefore with great bloody pride that we welcome and brand new, exclusive track from Ripped to Shreds to the Decibel Flexi Series!

Entitled “燒冥紙 (Sacrificial Fire),” this new track feels right at home within our curated series, showcasing the red hot future in store for the international death metal master. This fire won’t burn forever, however, as you must sign up for a deluxe Decibel subscription by Wednesday, July 7 at noon ET if you want to ensure your copy of this face-melting track. Death is eternal, but this offer is not; score your copy today!

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